Companies Opt to Lease and Finance Equipment to Preserve Capital

Reporter

Storm clouds may be gathering over the U.S. economy, but businesses are still leasing and financing equipment, everything from tractors to computers. In June, the volume of new business in equipment leasing and financing–across all industry sectors–rose 29 percent over May 2012, according to a July 25 report from the Equipment Leasing and Finance Association. It was one of the best months for equipment leasing and finance “since the beginning of the Great Recession in 2008,” according to the association.

Computing equipment and software comprises a big segment of the overall commercial leasing and financing industry. In 2011, it accounted for 22% of the new business volume of the overall equipment financing industry, second only to transportation, according to the 2012 Survey of Equipment Finance Activity by the Equipment Leasing and Finance Association. In 2011, it grew 10.9% over the prior year.

“Capital financing is really cheap right now, companies can borrow money and get a high rate of return,” said Bill Choi, vice president of research and industry services at the Equipment Leasing and Finance Association.

“Many companies are choosing to use leasing and financing options in order to preserve capital,” said Joseph Pucciarelli, vice president and IT executive advisor at IDC. In uncertain times, companies tend to batten down their balance sheets, he said. This year, IDC predicts that the market for leasing and financing IT equipment is projected to reach $67.3 billion, up from $64.7 billion last year. By 2015, the market is expected to reach $77.4 billion.

The market for leasing and financing commercial equipment hit bottom in April 2009. That’s when new business volume declined 42.5% over the same month in 2008. In comparison, leasing and financing for IT equipment declined about 10%, said Pucciarelli. The relative strength of computing equipment and software is a sign that companies view information technology as strategic to their businesses.

“We’re in a service-based economy and computers are the engine,” says Pucciarelli.

At one point during the recession, equipment that was leased or financed accounted for about 50% of all IT capital equipment spending, he notes. Now, it’s about 42%.

The fastest growing segments for new business volume in IT finance are storage, software, point of sale and banking systems, according to the 2012 Survey of Equipment Finance activity, released July 18 by the Equipment Leasing and Finance Association.

War Porn War Punk
WARPORN WARPUNK! Autonomous
videopoiesis in wartime*
Matteo Pasquinelli
Grinning monkeys
How do you think you can
stop war without weapons? The anti-war public opinion that fills squares worldwide
and the cosmetic democracy of International Courts stand powerless in front
of the raging US military. Against the animal instincts of a superpower reason
cannot prevail: a homicidal force can be arrested only by another, stronger
force. Everyday we witness such a Darwinian show: history repeating itself through
a cruel confrontation of forces, whilst freedom of speech is exercised only
in private. Pacifists too are accomplices of instinctive forces, because animal
aggressiveness is inside us all. How do we express that bestiality for which
we condemn armies? Underneath the surface of the self-censorship belonging to
the radical left (not only to the conformist majority), it should be admitted
publicly that watching Abu Ghraib pictures of pornographic tortures does not
scandalize us, on the contrary, it rather excites us, in exactly the same way
as the obsessive voyeurism that draws us to videos of 9/11 videos. Through such
images we feel the expression of repressed instincts, the pleasure rising again
after narcotized by consumerism, technologies, goods and images. We show our
teeth as monkeys do, when their aggressive grin looks dreadfully like the human
smile. Contemporary thinkers like Baudrillard and Zizek acknowledge the dark
side inside Western culture. If 9/11 has been a shock for Western consciousness,
Baudrillard puts forward a more shocking thesis: we westerners were to desire
9/11, as the death drive of a superpower that having reached its natural limits,
knows and desires nothing more than self-destruction and war. The indignation
is hypocrisy; there is always an animal talking behind a video screen.
On the videowar
Before pulling the monkey
out of the TV set, we have to focus on the chessboard on which the media match
is played. The more reality is an augmentation of mass, personal, and networked
devices, the more wars become media wars, even if they take place in a desert.
The First Global War started by live–broadcasting the 9/11 air disaster
and continued with video-guerrilla episodes: everyday from the Iraqi front we
received videos shot by invaders, militiamen, and journalists. Every action
in such a media war is designed beforehand to fit its spectacular consequences.
Terrorists have learnt all the rules of spectacular conflict while imperial
propaganda, much more expert, has no qualms about playing with fakes and hoaxes
(for instance the dossiers on weapons of mass destruction). Bureaucratic propaganda
wars are a thing of the past. New media has generated guerrilla combat, opening
up a molecular front of bottom-up resistance. Video cameras among civilians,
weblogs updated by independent journalists, smart-phones used by American soldiers
in the Abu Ghraib prison: each represents an uncontrollable variable that can
subvert the propaganda apparatus. Video imagery produced by television is now
interlaced with the anarchic self-organized infrastructure of digital networked
media that has become a formidable means of distribution (evidenced recently
by the capillary diffusion of the video of the beheading of Nick Berg). Today's
propaganda is used to manage a connective imagery rather than a collective spectacle,
and the intelligence services set up simulacra of the truth based on networking
technologies.
The videoclash of civilizations
Alongside the techno-conflict
between horizontal and vertical media, two secular cultures of image face each
other on the international mediascape. The United States embodies the last stage
of videocracy, an oligarchic technocracy based on hypertrophic advertising and
infotainment, and the colonization of the worldwide imagery through Hollywood
and CNN. Nineteenth century ideologies such as Nazism and Stalinism were intimately
linked to the fetishism of the idea-image (as all of western thought is heir
to Platonic idealism). Islamic culture on the contrary is traditionally iconoclast:
it is forbidden to represent images of God and the Prophet, and usually of any
living creature whatsoever. Only Allah is Al Mussawir, he who gives rise to
forms: imitating his gesture of creation is a sin (even if such a precept never
appears in the Koran). Islam, unlike Christianity, has no sacred iconographic
centre. In mosques the Kiblah is an empty niche. Its power comes not from the
refusal of the image but from the refusal of its centralizing role, developing
in this way a material, anti-spectacular, and horizontal cult. Indeed, on Doomsday,
painters are meant to suffer more than other sinners. Even if modernization
proceeds through television and cinema (paradoxically they did not treat painting
in the same way), iconoclastic ground remains active and breaks out against
western symbols, as happened in the case of the World Trade Centre. To strike
at western idolatry, pseudo-Islamic terrorism becomes videoclasm, preparing
attacks designed for live broadcasting and using satellite channels as a resonant
means for its propaganda. Al-Jazeera broadcasts images of shot-dead Iraqi civilians,
whilst western mass media removes these bodies in favour of the military show.
An asymmetrical imagery is developing between East and West, and it will be
followed by an asymmetrical rage, that will break out with backlashes for generations
to come. In such a clash between videocracy and videoclasm, a third actor, the
global movement, tries to open a breach and develop therein an autonomous videopoiesis.
The making of an alternative imagery is not only based on self-organizing independent
media, but also on winning back the dimension of myth and the body. Videopoiesis
should speak– at the same time – to the belly and to the brain of
the monkeys.
Global video-brain
Western media and awareness
was woken up by the physical force of live-broadcasted images not by the news
of tortures at the Abu Ghraib prison or of Nick Berg's beheading. Television
is the medium that taught the masses a Pavlovian reaction to images. It is also
the medium that produced the globalisation of the collective mind (something
more complex than the idea of public opinion). The feelings of the masses have
been always reptilian: what media proliferation established is a video mutation
of feelings, a becoming-video of the collective brain and of collective narration.
The global video-brain functions through images whereas our brains think out
of images. This is not about crafting a theory, but recognising the natural
extension of our faculties. Electronic and economic developments move at too
high a speed for the collective mind to have time to communicate and elaborate
messages in speech, there is only time for reacting to visual stimuli. A collective
imagery arises when a media infrastructure casts and repeats the same images
in a million copies, producing a common sense; a consensual hallucination around
the same object (that afterwards becomes word-mouth or the movie industry).
In the case of the TV medium such a serial communication of a million images
is much more lethal, because it is instantaneous. On the other hand, the networked
imagery works in an interactive and non-instantaneous way, this is why we call
it connective imagery. Imagery is a collective serial broadcasting of the same
image across different media. According to Goebbels, it is a lie repeated a
million times that becomes public discourse, part of everyday conversations,
and then accepted truth. Collective imagery is the place where media and desire
meet each other, where the same repeated image modifies millions of bodies simultaneously
and inscribes pleasure, hope and fear. Communication and desire, mediasphere
and psychosphere, are the two axis that describe the war to the global mass,
the way in which the war reaches our bodies far from the real conflict and the
way image inscribes itself into the flesh.
Animal narrations
Why does reality exist only
when framed by a powerful TV network? Why is the course of events affected by
the evening news? Collective imagery is not affected by the video evolution
of mass technologies only, but also by the natural instincts of human kind.
As a political and social animal, the human being is inclined to set up collective
narratives, that represent the belonging instinct to its own kind. Let's call
them animal narratives. For this reason television is a "natural"
medium, because it responds to the need of creating one narrative for millions
of people, a single animal narrative for entire nations, similarly to what other
narrative genres, like the epic, the myth, the Bible and the Koran, did and
still do. Television represents, above all else, the ancestral feeling to belong
to one Kind, that is the meta-organism we all belong to. Each geopolitical area
has its own video macro-attractor (CNN, BBC, etc.), which the rest of the media
relate to. Beside the macro-attractors, there are meta-attractors, featuring
the role of critical consciousness against them, a function often held by press
and web media (the Guardian, for instance). Of course the model is much more
complex: the list could continue and end with blogs, which we can define as
group micro-attractors, the smallest in scale, but suffice it to say here that
the audience and power of the main attractor are ensured by the natural animal
instinct. This definition of mass media might seem strange, because they are
no longer push media that communicate in unidirectional ways (one-to-many),
but pull media that attract and group together, media in which we invest our
desires (many-to-one). Paraphrasing Reich's remark on fascism, we can say that
rather than the masses being brainwashed by the media establishment, the latter
is sustained and desired by the perversion of the desire to belong.
Digital anarchy. A videophone vs. Empire
Traditional media war incorporates
the internet and the networked imagery with television, internet, mobile phones
and digital cameras and turns into a battle ground: personal media such as digital
cameras bring the cruelty of war directly into the living room, for the first
time in history at the speed of an internet download and out of any governmental
control. This networked imagery cannot be stopped, and neither can technological
evolution. Absolute transparency is an inevitable fate for all of us. The video
phone era seriously undermines privacy, as well as any kind of secrecy, state
secrecy included. Rumsfeld's vented outrage in front of US Senate Committee
on Armed Services about the scandal at Abu Ghraib is extremely grotesque: "We're
functioning... with peacetime constraints, with legal requirements, in a wartime
situation, in the Information Age, where people are running around with digital
cameras and taking these unbelievable photographs and then passing them off,
against the law, to the media, to our surprise, when they had - they had not
even arrived in the Pentagon". A few days later Rumsfeld prohibited the
use of any kind of camera or videophone to the American soldiers in Iraq. Rumsfeld
himself was the ‘victim’ of the internet broadcasting of a famous
video that shows him politely shacking hands with Saddam Hussein in 1983. New
digital media seem to have created an unpredictable digital anarchy, where a
video phone can fight against Empire. The images of torture at Abu Ghraib are
the internal nemesis of a civilization of machines that is running out of control
of its creators and demiurges. There is a machine nemesis but also an image
nemesis: as Baudrillard notes, the Empire of the Spectacle is now submitted
to the hypertrophy of the Spectacle itself, to its own greed for images, to
an auto-erotic pornography. The infinitely repeatable character of digital technology
allowed for the demise of the copyright culture through P2P networks, but also
for the proliferation of digital spam and the white noise of contents on the
web. Video phones have created a networked mega-camera, a super-light panopticon,
a horizontal Big Brother. The White House was trapped in this web. Digital repetition
no longer delivers us to the game of mirrors of Postmodern weak thought –
to the image as self-referential simulacrum – but rather to an interlinked
universe where videopoiesis can connect the farthest points and cause fatal
short circuits.
War porn
Indeed, what came to light
with the Abu Ghraib media scandal was not a casual short-circuit, but the implosion
into a deadly vortex of war, media, technology, body, desire. Philosophers,
journalists and commentators from all sides rushed to deliver different perspectives
for a new framework of analysis. The novelty of the images of Abu Ghraib and
Nick Berg (whether fictional or not is not the point) consists in the fact that
they forged a new narrative genre of collective imagery. For the first time,
a snuff movie was projected onto the screen of global imagery and internet subcultures,
used to such images, suddenly came out of the closet: rotten.com finally reached
the masses. Rather than making sense of a traumatic experience, newspapers and
weblogs worldwide are engaged in drawing out the political, cultural, social
and aesthetic repercussions of a new genre of image that forces us to upgrade
our immunity system and communicative strategies. As Seymour Hersh noted, Rumsfeld
provided the world with an good excuse to ignore the Geneva Convention from
now on, whilst lowering the level of civility of the visible, thus forcing us
to accept cohabitation with the horror. English-speaking journalism defines
as war porn the popular tabloids and government talk-shows fascination with
super-sized weapons and well-polished uniforms, hi-tech tanks and infrared-controlled
bombs, a panoplia of images that some define as the aseptic substitute of pornography
proper. Ridley Scott’s Black Hawk Down is war hardcore, to name one. The
cover of Time, where the American soldier was chosen as Person of the Year,
was defined pure war porn by Adbusters: "Three American Soldiers standing
proudly, half-smiles playing on their faces, rifles cradled in their arms".
War porn is also a sub-genre of trash porn – still relatively unknown,
coming from the dark side of the net. It simulates violent sex scenes between
soldiers or the rape of civilians (pseudo-amateur movies usually shot in Eastern
Europe and often passed as real). War porn is freed from its status of net subculture:
its morbid interest and fetish for war imagery become political weapons, voyeurism
and the nightmares of the masses. Is it a coincidence that war porn emerges
from the Iraqi marshes right at this time?
Digital-body rejection
The metaphorical association
of war with sex that underpins much Anglo-American journalism points to something
deeper that was never before made so explicit: a libido that, alienated by wealth,
awaits war to give free reign to its ancestral instincts. War is as old as the
human species: natural aggressiveness is historically embodied in collective
and institutional forms, but several layers of technology have separated today's
war from its animal substratum. We needed Abu Ghraib pictures to bring to the
surface the obscene background of animal energy that lied underneath a democratic
make-up. Did this historic resurfacing of the repressed occur today simply because
of the mass spreading of digital cameras and video phones? Or is there a deeper
connection between the body and technology bound to prove to be deadly sooner
or later? As the mass media are filled with tragic and morbid news, the framing
of digital media seems to be missing something from its inception. This could
be that passion of the real (Alain Badiou) which, exiled onto the screen, explodes
out of control. New personal media are directly connected to the psychopathology
of everyday living, we might say that they create a new format for it and a
new genre of communication, but above all, they establish a relation with the
body that television never had. War porn seems to signal the rejection of technology
by subconscious forces that express themselves through the same medium that
represses them: this rejection might point to the ongoing adaptation of the
body to the digital. Proliferation of digital prosthesis is not as rational,
aseptic and immaterial as it seems. Electronic media seemed to have introduced
technological rationality and coolness into human relations, yet the shadows
of the digital increasingly re-surface. There comes a point when technology
physically unbridles its opposite. The internet is the best example: behind
the surface of the immaterial and disembodied technology lies a traffic of porn
content that takes up half of its daily band-width. At the same time, the Orwellian
proliferation of video cameras, far from producing and Apollonian world of transparency,
is ridden with violence, blood and sex. The next Endenmol Big Brother will resemble
the movie Battle Royal, where Takeshi Kitano forces a class of students on an
island and into a game of death where the winner is the last survivor. We have
always considered the media as a prosthesis of human rationality, and technology
as the new embodiment of the logos. But new media also embody the dark side
of the Western world. In war porn we found this Siamese body made up of libido
and media, desire and image. Two radical movements that are the same movement:
war reinvests the alienated libido, personal media are filled by the desperate
libido they alienated. The subconscious can not lie, the skeletons sooner or
later start knocking on the closets door.
Imagery reset
War results from the inability
to dream, from the depletion of all libidinal energy in an outflow of prosthesis,
commodities, images. War violence forces us to believe again in images of everyday
life, images of the body as well as images of advertising. War is an imagery
reset. War brings the attention and excitement for advertising back to a zero
degree, where advertising can start afresh. War saves advertising from the final
annihilation of the orgasm, from the nirvana of consumption, the inflation and
indifference of values. War brings the new economy back to the old economy ,
to traditional and consolidated commodities, it gets rid of immaterial commodities
that risk dissolving the economy into a big potlatch and into the anti-economy
of the gift that the internet represents. War has the "positive" effect
of redelivering us to ‘radical’ thought, to the political responsibility
of representation, against the interpretative flights of "weak thought",
of semiotics and postmodernism (where postmodernism is the western image looking
for an alibi to its own impotence). The pornographic images of war, as we said,
are the reflux of the animal instinct that our economic and social structure
has repressed. But rather than a psychoanalysis that reactively justifies new
customs and fashions, we seek to carry out a ‘physical’ analysis
of libidinal energy. In wartime we see images re-emerge with a new autonomous
and autopoietic force. There are different kinds of image: war porn images are
not representations, they speak directly to the body, they are a cruel, lucid
and affirmative force, like Artaud's theatre, they are re-magnetised images
that do not provoke incredulity, they are ‘neural icons running on the
spinal motorways’, as Ballard would put it. Radical images redeliver the
body to us, radical images are bodies, not simulacra. Their effect is first
physical then cognitive. The movement-image and the flux-matter are rigorously
one and the same thing (Deleuze). The damned tradition of the image is back,
with the psychic and contagious power of Artaud’s theatre, a machinic
image that joins together the material and the immaterial, body and dream. Fiction
is a branch of neurology (Ballard). In a libidinal explosion, war porn liberates
the animal energies of Western society like a bomb. Such energies can be expressed
through fascist reactions as well as liberating revolts. Radical images are
images that are still capable of being political, in the strong sense of the
word, and they can have an impact on the masses that is simultaneously political,
aesthetic and carnal.
Videopoiesis: the body-image
How can we make an intelligent
use of television? The first intelligent reaction is to switch it off. Activists
collective such as Adbusters.org (Canada) and Esterni.org (Italy) organize yearly
TV strikes, promoting a day or a week’s abstinence from television. Can
Western society think without television? It cannot. Even if we were to stop
watching TV because of a worldwide black-out or a nuclear war, our imagery,
hopes and fears would carry on thinking within a televised frame of mind. This
is not about addiction, the video is simply our primary collective language:
once upon a time there were religion, mythology, epic and literature. We can
repress the ritual (watching TV) but we cannot repress the myth. We can switch
television off, but not our imagery. For this reason the idea of an autonomous
videopoiesis is not about practicing of alternative information but about new
mythical devices for the collective imagery. In its search for the perfect image
- that is the image that is capable of stopping the War, subverting Empire and
starting the Revolution - the global movement has theorised and practiced video
activism (from Indymedia to street TVs) and mythopoiesis (from Luther Blissett
to San Precario). However, it never tried to merge those strategies into a videopoiesis
capable of challenging Bin Laden, Bush, Hollywood and the CNN at the level of
myth, a videopoiesis for new icons and formats, like for instance the video
sequences of William Gibson's Patter recognition distributed on the net. Videopoiesis
does not mean the proliferation of cameras in the hands of activists, but the
creation of video narratives, a new design of genres and formats rather than
alternative information. The challenge lies in the body-image. Through videopoiesis
we have to welcome the repressed desires of the global movement and open the
question of the body, buried under a para-catholic and third-worldist rhetoric.
While Western imagery is being filled with the dismembered bodies of heroes,
the global movement is still uneasy about its desires. War porn is a challenge
for the movement not to equal the horror but to produce images that awaken and
target the sleepy body. Throughout its history, television has always produced
macro-bodies, mythical giant bodies magnified by media power, bodies as cumbersome
as Ancient Gods. The television regime creates monsters, hypertrophic bodies
such as the image of the President of Unites States, the Al-Qaeda brand and
movie stars, while the net and personal media try to dismember them and produce
new bodies out of their carcasses. Videopoiesis must eliminate the unconscious
self-censorship that we find in the most liberal and radical sections of society,
the self-censorship that, behind a crypto-catholic imagery, hides the grin of
the monkey. Once crypto-religious self-censorship is eliminated, videopoiesis
can begin its creative reassembly of dismembered bodies.
Warpunk. I like to watch!
Watching cruel images is
good for you. What the Western world needs is to stare at its own shadows. In
Ballard's The Atrocity Exhibition war news and violent scenes improve adults’
sexual activity and the condition of psychotic children. War lords are filling
the collective imagery with brute force. Why leave them to do it in peace? If
in the real world we are always victims of the blackmail of non-violence, in
the realm of imagery and imagination we can feed our wet dreams at last. If
American imagery is allowing a drift towards Nazism and is offering an apology
and justification for any kind of violence, our response can only be an apology
of resistance and action, that is warpunk. Warpunk is not a delirious subculture
that embraces weapons in an aesthetic gesture. On the contrary it uses radical
images as weapons of legitimate defense. To paraphrase a Japanese saying, warpunk
steals from war and empire the art of embellishing death. Warpunk uses warporn
in a tragic way, to overcome Western culture and the self-censorship of its
counter-culture. Above all we are afraid of the hubris of the American war lords,
of the way they face any obstacle stepping over all written and unwritten rules.
What is the point of confronting this threat with the imagery of the victim,
that holds up to the sky hands painted in white? Victimhood is a bad adviser:
it is the definitive validation of Nazism, the sheep’s baa that makes
the wolf even more indifferent. The global movement is quite a good example
of "weak thought" and reactive culture. Perhaps this is because, unlike
war lords and terrorists, it never developed a way of thinking about the tragic,
war, violence and death. A tragic thought is the gaze that can dance on any
image of the abyss. In Chris Korda’s I like to watch video (download available
on churchofeuthanasia.org) porn scenes of oral sex and masturbation are
mixed with those of football and baseball matches and with well-known NY911
images. The phallic imagery reaches the climax: the Pentagon is hit by an ejaculation,
multiple erections are turned into the NY911 skyline, the Twin Towers themselves
become the object of an architectural fellatio. This video is the projection
of the lowest instincts of American society, of the common ground that bind
spectacle, war, pornography and sport. It is an orgy of images that shows to
the West its real background. Warpunk is a squadron of B52s throwing libidinal
bombs and radical images into the heart of the Western imagery.
*translated by Matteo
Pasquinelli
Edited by Arianna
Bove and Erik Empson
from rekombinant.org/article.php?sid=2386

ICO
Publisher: Sony
In Ico's village a birth of a normal child is a sign of happiness and a sign of good things to come, reassuring everyone that the curse has not left its mark on their child. But, once every
generation a special child is born with tiny horns jutting from his head. With word of this special birth fear spreads through people and the whole village settles into a fearful quiet mood. Anything
bad that happens to the village is blamed on the child. If food does not grow or people die unexpectedly he is blamed. Everyone wishes for the day of the sacrifice and for good fortune to return to
the village. On Ico's 12th birthday, when his hair grew large enough, the elders would sacrifice him to keep away the evil spirits from attacking the village. Ico is sealed in a crypt and an eternity
of torment would follow.
Not long before Ico is sealed up he has a dream of a ghostly women that drives him to escape. He then finds her and rescues her from the cage she is in shelled in. Thus the escape begins. You must
find a way out of the castle with Yorda by your side. Yorda is very weak so you have to lead her around the castle by holding her hand. While waling around the castle, to advance to the next area Ico
will have to solve many puzzles or join the tormented spirits forever.
Gameplay- 10.0
Controlling Ico and Yorda in the game is flawless. The controls are simple and easy to learn. The camera is semi controlled by the PS2 but you do have to option to change the angle view by moving the
right analog stick around. Also there is a function that enables you to zoom into far or close objects by pressing the R2 button on the controller. There is no visible loading time going from room to
room with Ico and Yorda. The only time where there is a brief pause is when a cut scene is being loaded.
Graphics- 10.0
"We obsessed", said the producer Kenji Kadio as they designed the process of Ico. Most of the design in the game was by hand and through their imagination. The obsession shows in the game. Without
seeing the game in motion you cannot tell that the environments are in real-time not pre-rendered. The characters cast shadows and torches bright up dark hallways. Every scene looks so realistic and
I am not exaggerating. Ico is a work of art. In some areas you will have to go outside where the sun is so bright you will want to shield your eyes. Not one other single game for the PS2, X-box, or
Gamecube can come close to the art portrayed in Ico not to mention its unique graphics.
Sound- 8.0
There was not big sound track recorded for Ico because there was no need to. The music will set the mood for some scenes and in other scenes music is not needed. Background sounds of thunder and
birds chirping are enough to set the scene
Life Cycle- 3.0
If you have the Pal version (European version of Ico) after beating the game there a two-player mode is unlocked and Yorda's mysterious language is translated. If you have the NTSC (United States and
Canada version of Ico) version of Ico there is nothing to do after you have beaten the game.
Overall- 9.5
Ico is one of the most unique games to come into the gaming industry in a while. Although the game is short, the beautiful backgrounds and architecture make up for it.
-David

10:57 am September 17, 2012

icons download wrote:

In it something is. Now all is clear, thanks for the help in this question.

Deloitte Touche Tohmatsu Limited's fourth annual Millennial Survey reveals the business activities and outcomes members of Generation Y would prioritize if they held leadership positions. In highlighting millennials' priorities, the survey results draw attention to this generation's values and the themes large enterprises should speak to if they wish to attract and retain members of this rising workforce.